The rhythmic element is repeated in two series of rapidly ascending sequences.
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The first theme flowers out of this tiny seed. It is based on the ascending repetition of the motivic idea in a variety of pitches, giving the melodic flow an intensive dramatic drive.
Did you notice that the sequences are played by different instruments, although it seems that they are all played by the violins? In fact, the motive is played by the second violins, then by the violas, and finally by the first violins. Listen to the example. Do you notice the difference now?
Anyone listening to these three sequences is certain to believe that Beethoven based them on the same intervals. Well, not exactly. The original motive is based on the interval of a major third. In the second thundering, we can discern the interval of a minor third. We have here a tonal sequence.
Now look at this example, and try to decipher the interval in the middle sequence. What do we have here? A minor second!
But, to us, it seems as if we are hearing the same melody, only one step higher. This is how Beethoven succeeds, for the first of many times in this Symphony, to play us a turn.
In this rapidly ascending sequence, each instrument continues its last note until the last instrument plays its long note, thus producing a chord (C-E flat-G), which establishes the home key of C minor.
Here, the bassoon and cellos play a sustained C in order to accentuate the C minor key.
The second three-ascending-sequences forms (with the lengthened long notes) a new chord (G-B-D), usually called a dominant chord. This dominant chord gives the impression of a question mark, awaiting a continuation which will bring us back to the tonic key.
